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Partial List of Successful and Popular Plays. Large Catalogue Free. 
Price 15c each, Postpaid, Unless Different Price Is Given 



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M. F. 

Aaron Boggs, Freshman, 3 

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After the Game, 2 acts, 154 

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All a Mistake, 3 acts, 2 hrs. 

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American Hustler, 4 acts, 2 l / 2 

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Arabian Nights, 3 acts, 2 hrs. 4 5 
As a Woman Thinketh, 3 acts, 

2Y 2 hrs ....(25c) 9 7 

At the End of the Rainbow, 3 

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Bank Cashier, 4 acts, 2 hrs. 

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Black Heifer, 3 acts, 2 hrs. 

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Brookdale Farm, 4 acts, 2J4 

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Brother Josiah, 3 acts, 2 hrs. 

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Burns Rebellion, 1 hr (25c) 8 5 

Busy Liar, 3 acts, 2% hrs. 

(25c) 7 4 

College Town, 3 acts, 2 J4 

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Corner Drug Store, 1 hr. 

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Danger Signal, 2 acts, 2 hrs. . 7 4 
Daughter of the Desert, 4 

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Down in Dixie, 4 acts, 2v£ 

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Dream That Came True, 3 

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Editor-in-Chief, 1 hr....(25c) 10. 
Enchanted Wood, 1& h.(35c).Optnl. 
Everyyouth, 3 acts, 1 l / 2 hrs. 

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Face at the Window, 3 acts, 2 

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Fascinators, 40 min (25c) 13 

Fun on the Podunk Limited, 

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Heiress of Hoetown, 3 acts, 2 

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High School Freshman, 3 acts, 

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Honor of a Cowboy, 4 acts, 2^ 

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Indian Davs, 1 hr (50c) 5 2 

In Plum Valley, 4 acts, 254 

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Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
Jayville Junction, 1% hrs.(25c) 14 17 
Kingdom of Heart's Content, 3 

acts, 254 hrs (25c) 6 12 

Lexington, 4 acts, 2J4 h..(25c) 9 4 



M. F. 

Light Brigade, 40 min (25c) 10 

Little Buckshot, 3 acts, 2*4 hrs. 

(25c) 7 4 

Lodge of Kye Tyes, 1 hr. (25c) 13 
Lonelyville Social Club, 3 acts, 

154 hrs (25c) 10 

Man from Borneo, 3 acts, 2 

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Man from Nevada, 4 acts, 2% 

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Mirandy's Minstrels (25c) Optnl. 

New Woman, 3 acts, 1 hr,... 3 6 
Old Maid's Club, 1J4 hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

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Old School at Hick'ry Holler, 

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On the Little Big Horn, 4 acts, 

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Out in the Streets, 3 acts, 1 hr. 6 4 
Prairie Rose. 4 acts, 2 l / 2 hrs. 

(25c) 7 4 

Rustic Romeo, 2 acts, 2 54 

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School Ma'am, 4 acts, 1^4 hrs. 6 5 
Scrap of Paper, 3 acts, 2 hrs.. 6 6 
Soldier of Fortune, 5 acts, 2 1 / £ h. 8 3 
Southern Cinderella, 3 acts, 2 

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Third Degree, 40 min (25c) 12 

Those Dreadful Twins, 3 acts, 

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Tony, The Convict, 5 acts, 254 

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Town Marshal, 4 acts, 254 

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Trip to Storyland, 154 hrs. (25c) 17 23 
Uncle Josh, 4 acts, 254 hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

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Under the Laurels. 5 acts, 2 hrs. 6 4 
When the Circus Came to 

Town. 3 acts, 254 hrs. (25c) 5 3 
Women Who Did, 1 hr. . . (25c) 17 
Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES, COMEDIETAS, Etc. 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Bad Job, 30 min 3 2 

Betsy Baker, 45 min 2 2 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap. 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 

Box and Cox, 35 min 2 1 

Case Against Casey, 40 min... 23 
Convention of Papac, 25 min.. 7 

Country Justice. 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 



T.S.DENISON & COMPANY, Publishers, 154 W.Randolph St., Chicago 



SHADOWS 



A PLAY OF THE SOUTH 
IN ONE ACT 



BY 

MARY MONCURE PARKER 

AUTHOR OF 

The Old Oaken Bucket/' "Husbands is Husbands," "When Lu- 
cindy Goes to Town," Etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



SHADOWS 



CHARACTERS. 

PROLOGUE AND THE AWAKENING. 

Robert Ashton Virginia's Sweetheart 

Aunt Geranium An Old Colored Mammy 

Virginia Lee . . . A Southern Maid 

THE DREAM. 

Gordon Sanford A Soldier, in Love with Alice 

Harold Hale The Successful Rival 

Mrs. Horace Fairfax A Stern Mother of Long Ago 

Alice Fairfax Her Dutiful Daughter 



Time — Today and a Dream of the Past. 



Time of Playing — About Thirty- five Minutes. 
TMP96-0G6840 

COPYRIGHT, 1915, BY EBEN H. NORRIS. 



^ /J ©)C!.D 401 



66 



SHADOWS. 3 

STORY OF THE PLAY. 

Virginia Lee's mother insists upon her marriage with a 
rich suitor, who has agreed to restore their impoverished 
estate. Virgina has a sweetheart of her childhood days and 
hesitates in making a choice, but finally decides upon wealth 
instead of love. At the opening of the play, Virginia has 
stopped at the cabin of Aunt Geranium, an old colored 
mammy, who has spent her life in the Lee household. Aunt 
Geranium understands the situation and tells Virginia of 
a similar episode in the life of Virginia's grandmother. 
Virginia stops to rest and in pondering over the incident 
and grieving over her own troubles, falls asleep. She 
dreams of the story just told and the dream characters 
enter and play their parts — in a dream which seems real. 
Virgina awakens, the shadows flee and she comes to her 
senses and her lover. 



CHARACTERS AND COSTUMES. 

Aunt Geranium — Old negro mammy. Calico dress, 
gingham apron and turban, which consists of red bandana 
handkerchief. 

Virginia Lee — About nineteen years old. Summer gown 
and hat or light tailored suit. 

Robert Ashton — About twenty-three years old. Mod- 
ern summer suit and straw hat. 

Mrs. Horace Fairfax — About forty-five years old. Cos- 
tume of the Civil War period. 

Alice Fairfax — About nineteen years old. Civil War 
costume. Hair arranged low on neck with long curl falling 
over shoulder. 

Gordon Sanford — Twenty-four years old. Costume of 
Confederate army officer. If this is not obtainable he may 
wear long Prince Albert coat, riding boots, broad brimmed 
hat, high collar and stock. 

Harold Hale — About forty years old. Light trousers, 
dark Prince Albert or cutaway coat, riding boots, stock and 
high collar. 



4 SHADOWS. 

PROPERTIES. 

Kitchen table, common chairs, clothes rack with white 
waists, towels and linen hanging on it. Flat iron and stand 
for iron, tin pail and dipper. Large, comfortable looking 
but worn-out chair. Basin filled with water used for sprink- 
ling clothes. Lamp, matches, clothes basket, wooden bench, 
Revolver for Gordon. Letters for Virginia. Shelf at L. C. 
in flat on which is small can containing powder to give 
Virginia. Spoon, glass, etc. Rabbit's foot for Aunt. 



Scene Plot. 



i 



-JWindowf- 



Clothes Rack I ' Table with 

with Linen □ 

Clothes Basket un der Tab le Larn P 

Ironing Table | | 



'Wooden Bench for 
/ / Arm Chair ■— , 

/ / 2 or 3 Persons for Virginia U 




STAGE DIRECTIONS. 

R. means right of the stage ; C, center ; R. C, right cen- 
ter; L., left; R. D., right door; L. D,, left door, etc.; 1 E., 
first entrance ; U. E., upper entrance ; R. 3 E., right entrance 
up-stage, etc. ; D. F., door in flat or scene running across 
the back of the stage ; up-stage away from footlights, down 
stage, near footlights ; 1 G., first groove, etc. The actor is 
supposed to be facing the audience. 



SHADOWS 



PROLOGUE. 



Scene: Aunt Geranium's cabin. Simple interior. Cheap 
funiture but room has a tidy appearance. Doors R. and L. 
Window C. in flat. See Scene Plot for stage setting. Dream 
characters, when on stage, remain at R. C, while Virginia 
is asleep in the chair at the extreme L. C. of stage, near 
footlights. 

Curtain rises disclosing Aunt Geranium standing at 
table ironing. She is singing an old negro melody and is 
interrupted by Virginia's entrance. 

Enter Virginia, R. 

Virginia (coming down R.). Howdy, Aunt Geranium. 

Aunt Geranium (pausing in her ironing and looking 
up ) . My Lawd ! Miss Jinny, you certain sho' looks pretty. 
Whar you gwine, honey? 

Virginia (who has a troubled, absent-minded air). Why 
— oh, just to the postoffice, Aunty. 

Aunt. What's de inattah, chile? De sun's hidin' behin' 
a cloud. Does somethin 'trouble you ? 

Virginia (hesitatingly). No — o — nothing much. 

Aunt (shaking her head doubtfully) . Dat ain't de trufe, 
baby. An' what you gwine to de pos' office so late fur? 
Don't you know it will be dark before you gits back ? 

Virginia. Oh, I wanted to post a letter — (hesitates) well, 
before I changed my mind. • 

Aunt (looking up in excitement). Look heah, chile. 
(Pauses with iron uplifted as a sudden thought strikes her). 
Don't you know you has to pass the holler on the way to de 
postoffice? (Puts iron down on table.) 

Virginia (shrugging her shoulders and smiling a little 
for the first time since her entrance). Oh, I don't mind 
that, Aunty. 

5 



6 SHADOWS. 

Aunt (in an excited tone). Don't min' dat? (Crosses 
to Virginia in a mysterious way.) Didn't you never heah 
of groanin's and moanin's and rattlin' of bones dat goes on 
in dat holler when de nighttime comes? (Looks about her 
nervously and walks a step or two up-stage.) 

Virginia (somewhat amused, yet a trifle petulant). Oh, 
Aunty, what nonsense. I don't care a snap of my fingers 
about ghosts. (Crosses L. C. and stands in front of table.) 

Aunt (in a loud whisper). Sh ! (Comes down-stage 
quickly.) Does you wan to make dem ghostes mad? Can't 
tell but dey might be roun' somewheres. Some of dem is 
mighty rambunctious. Dey has feelin's, chile. (Looks 
around and takes a step or two up-stage.) 

Virginia. I haven't any faith in that sort of thing. There 
is enough real trouble in the world without bothering about 
unreal spirits. (Crosses R. again as though restless.) 

Aunt (corning down-stage). Dat's all de Gawd's trufe 
Fse been tellin' you, baby. I knowed a nigger onct an' he 
done laughed at ghostes an' he was plum hoodooed. Couldn't 
eat an' couldn't sleep, an' one night he went clean off de 
earf and nobody couldn't And hide nor hair of him no mo'. 

Virginia (sighing). If ghosts were all there was to fear! 

Aunt (looking at her quickly). What you worryin' 
about, baby? 

Virginia. I am so very unhappy, Aunty. Life is just a 
twisted, knotted tangle and nothing ever does come out 
right. (Sits dozen dejectedly on bench.) 

Aunt. Dat's so. Now we grees on dat. Kase I was 
spectin' to git married las' week an' de fool nigger went 
and bust de engagement jes' befo' de ceremony. But I got 
even wid him. (Laughs aloud, holding her sides.) I pretty 
near busted his fool head open. (Virginia sobs. Aunt is 
laughing softly and does not hear her at first. As the young 
girls sobs again the old woman looks around in surprise.) 
What is it, honey? (Goes to Virginia and pats her gently 
on the shoulder.) Is you honin fur Mars Robert? (Pro- 
nounced "hone-in" meaning longing — a negro expression.) 

Virginia (looking up but not at Aunt). I am not going 



SHADOWS. 7 

to marry Robert — (catches herself quickly) Mr. Ashton, 
Aunty. 

Aunt. Ain't gwine to marry yo' sweetheart? 

Virginia. No, Aunty. This letter tells him so. (Holds 
up letter and crosses to L.) 

Aunt (throwing up both hands in amazement). Fo' de 
Lawd's sake, what's de matter? 

Virginia (in a disheartened tone). Oh, Aunty, we are 
so poor, so wretchedly, miserably poor, and I want money 
and pretty clothes. I'm tired of scrimping and saving and 
patching and turning this way and that, to make a dime do 
the work of a dollar. I'm sick of my little school and the 
daily grind. I want automobiles and furs and diamonds. 
Robert — Mr. Ashton — can't give them to me. He has a 
hard enough time to make a living for himself. And — oh, 
well, I've decided not to marry him, that's all. 

Aunt (crossing L. to Virginia). Look here, chile, dat's 
ole Miss talk through and through. She wants you to marry 
that old Mr. Thing-um-bob, whatever his name is, from de 
Norf, dat done bought de Scott place. 

Virginia. I intend to marry Mr. Cleaver, Aunty, and 
this letter tells him so. (Holds up another letter.) 

Aunt. Well, you certain sho' has been writin'. Does you 
love this Mr. Butcher? (Looks at Virginia searchingly.) 

Virginia (correcting her). Cleaver, Aunt Geranium. 

Aunt. Well, Cleaver, den. I knowed it sounded kin of 
meat-axe-y. 

Virginia (hesitatingly). Why — I — I — 

Aunt. No you don't, honey. I know you don't love no 
fat ole man, ole enough to be your father. 

Virginia. Well, he has money and I need money. 
Mamma is delicate and I could do so much for her. 

Aunt. Money is a might convenience, chile, but dat's an 
awful fat ole man to take to git it. 

Virginia. No one is forcing me, Aunty. I have made 
up my own mind. (Suddenly starting to cry.) Oh, Aunty, 
I'm so miserable. (Puts her head on Aunt's shoulder and 
the old mammy puts her arms about her.) 

Aunt. There, now, baby, jes' set down an' rest in 



8 SHADOWS. 

Mammy's ole arm-cheer. Dem letters will keep 'til mawnin'. 
(Pushes her gently down into the chair.) 

Virginia. No, no. I must go. (Starts to rise but Aunt 
gently presses her back into the chair.) I might change my 
mind. 

Aunt. No, you jes' keep still. You'se all tired out an' 
nervous. I'm gwine to give you one of dem sleep powders 
I makes. Dey'll do you lots of good. (She goes to shelf 
and takes small can containing a pozvder, which she puts 
in a glass of water.) You ain't de only pusson what has 
to wuk out dem puzzles. Member dem ole pictures, honey, 
of yo' gramma, wid de ruffled skirts? (Mixes pozvder in 
glass. ) 

Virginia. Yes, Aunty, I must go. (Sits up in chair.) 

Aunt. Here, take this, drink, honey. It's mighty soothin' 
an' you keep still. I'se gwine to manage you jes' as I did 
when you was a little baby. (Virginia drinks and settles 
back into her chair.) Well, it was jest after de wah. I was 
a young nigger den and jes' stuck to the ole place. Lawd 
knows it was forlorn enough wid de trees cut down an' de 
fences burnt up. Ole Miss, yo' great gramma, was a proud 
one, an' when Miss Alice wanted to marry Mars Gordon 
Sanford, she jes' put her foot down. Dar want no sense 
in jinin' two paupers, she said. And when rich Mr. Hale 
done come from Europy after the wah an' asked for Miss 
Alice's hand, ole Miss was might pleased. Is you sleepy, 
honey? (Aunt takes clothes from clothes rack and puts in 
basket which she pulls out from under table.) 

Virginia (yawning). A little. There was something 
strange about it all. Wasn't there ? I never heard the whole 
story. (Yawns and stretches a little as though sleepy.) 

Aunt (nodding her head slozvly). Yes, something mighty 
strange. You see, the Sanf ords was blue-blooded and proud, 
but dey was poor, an' yo' great gramma was proud — um-m, 
but she was proud. Ole Miss backbone was stiff as ram- 
rod. It don't do to git mixed up in nobody's love affairs. 
Gwine to git yo' fingers burnt, sho'. But don't you bother 
yo' pretty head no mo', chile. Go to sleep. (Looks at the 



SHADOWS. 9 

girl and leans toward her as though to see the effect of the 
powder.') Go to sleep, an' when you wakes — (Pauses.) 

Virginia (sleepily). Yes, Aunty, and when I wake — 
(does ndt finish. Drops off to sleep.) 

Aunt. Why, dream, dream, honey (speaking tenderly), 
and when you wakes maybe you'll come to yo' senses. 
(Looks at her closely.) She's plum gone. Po' tired baby. 
Well, I reckon I'll take dese clothes to the house and let 
her git a little res'. (Exits L. with clothes basket, humming 
softly.) 

THE DREAM. 

Lights go down. Spot light on Dream Characters all 
during the time they are on the stage. If it is impossible 
to arrange a spot light, leave the lights on, but in this case 
arm-chair must be placed at back of stage L. and turned 
so that Virginia faces side view and away from Dream 
Characters. This arrangement of chair can be mC.de before 
play begins. Time of dream supposed to be just at close 
of Civil War. The action of dream must take place between 
R. of stage and C. 

Enter Gordon, R. 

Gordon. She promised to be here — (pauses) if her 
mother — 

Enter Alice, R. 

Alice. Gordon! 

Gordon. Oh, my dear one. (They embrace. Gordon 
draws her a step or two down-stage.) 

Alice. I had such a time to get here. (They hold hands.) 
Mother keeps at me night and day to marry Harold Hale 
and she has forbidden me to see you. She is very changed 
since my brother died. (Shaking her head sadly.) Oh, 
Gordon, if she should separate us — 

Gordon. She can't. She shan't. I'll hold you so that no 
one shall ever take you away. (Drazvs her to him.) 

Alice. Oh, my dear, it is so wonderful to have you again. 

Gordon. Wonderful. Why, dear, it is splendid, glorious, 
just like the most beautiful dream in the world that has 
come to a reality. (They sit on bench R.) 



10 SHADOWS. 

Alice. I was very sad when you went away to war, and 
now to have you here again, just as you were — {she does 
not finish her sentence but just pats his hand gently). 

Gordon {taking her hands in his). Somehow, Alice, I 
have dreamed this meeting over and over again, just as it is. 
When we tramped on and on, cold and hungry, day after 
day, often in the drizzling rain, wet to the skin, I said, 
"I am fighting for the sake of the dearest girl in the world." 
And it spurred me on and made me forget the hardships — 

Alice {interrupting). Did you really think of me all 
the time? 

Gordon. Yes, dear. I am afraid I put you before my 
country and the cause. 

Alice (playfully putting her finger on his lips, as though 
shocked). Oh, Gordon, what treason! 

Gordon. A very harmless sort of treason. I was ready 
to die for my country, but I wanted most dreadfully to live 
for you. Every night I kissed the little miniature you gave 
me and I said, "God bless the sweetest, prettiest — " 

Alice {interrupting). Not prettiest. I don't believe you 
said that. {Smiles play f idly.) 

Gordon {smiling back happily). Yes, prettiest. I swear it. 

Alice. Let me see. {With the same playful manner.) 
I don't believe you have the miniature at all. 

Gordon {taking miniature from his pocket). Here it is. 
A faint counterpart of the lovely original. 

Alice. Gordon, you are a flatterer. 

Gordon. Don't say that, even lightly, dear girl. My heart 
and soul are bound up in the thought of you. You have 
meant more to me than life itself. 

Alice {becoming suddenly serious — sighs). I almost 
wish — {pauses). 

Gordon. What is it, dear? 

Alice. Oh, I wish that you did not care so much. 

Gordon {in a quick, astonished tone). Alice! 

Alice. Well, I mean it. 

Gordon. Alice, you cannot mean — {pauses and looks at 
her searchingly). 



SHADOWS. 11 

Alice. I mean — oh, Gordon, we can't marry. (Rises 
and crosses to C.) 

Gordon. Can't marry! (In amazement.) What are you 
talking about, Alice? (Rises quickly from bench.) 

Alice. We are so poor and mother will never consent. 

Gordon (crossing to Alice). But, sweetheart, we love 
each other and nothing else matters. (Takes her hand in 
his.) What do you think carried me through all the long, 
hard days of the war? Why, dearest, it was the thought 
of you. Everything is swept away, but, thank God, I have 
my health and strength and two strong arms, and I'll work 
for you — hold you safe. (Puts his arm about her.) 

Alice. I know, dear ; but there is mother, and I am pow- 
erless in her hands. She says it's my duty to preserve the 
honor of the house and to repair our shattered fortunes. 
We must have money. She'll never give her consent. (She 
drops her head disconsolately.) 

Gordon. Nothing shall ever part us. Why, dear, I could 
not live without you in my future. Life would mean noth- 
ing. (Takes her hands again.) 

Alice. But there is mother — 

Enter Mrs. Fairfax, R., followed by Harold. They are 
not seen by Alice and Gordon. Mrs. Fairfax motions 
Harold and he quickly exits R. 

Gordon (interrupting eagerly and decisively) . I'll make 
your mother consent. 

Mrs. Fairfax (coming fonvard at Gordon's last speech, 
speaking sarcastically). Indeed. Quite the dramatic hero. 
And so you intend to drive me. By what process, please, 
is this to be accomplished? 

Alice (leaving Gordon and standing betzveen the tzvo). 
Oh, mother dear, don't be angry with Gordon. He loves 
me so much, he does not realize what he is saying. 

Mrs. Fairfax (scornfully). Yes, he loves you so much 
that he is willing to drag you into a life of poverty. 

Alice (eagerly). No, no, mother. I am his gladly, will- 
ingly. 

Mrs. Fairfax (with less scorn but in a determined zvay) . 



12 SHADOWS. 

Child, you do not know of what you are talking. Gordon 
is as poverty stricken as are we. 

Gordon (with determination). My dear Mrs. Fairfax, I 
have my two hands. I am able and willing. I will work 
and win back everything. The good God has said, by the 
sweat of his brow man must win out, and I'll toil and toil. 
The earth shall give back all I've lost. 

Mrs. Fairfax {dramatically). Meantime my daughter 
starves and saves and scrimps and grows old and worn 
before her time. Oh, the inconsiderateness of youth! I 
have given all I possess, my son, my home, everything, to 
my country, and what has it profited me? I have devoted 
my life to this girl, and now, when she might repay me 
and return a little of my devotion — 

Alice (interrupting). Oh, don't, mother dearest. I can't 
bear to hear you call me ungrateful. (Crosses to her 
mother.) 

Mrs. Fairfax. I do call you ungrateful. (Alice stands 
with bozved head and drops both arms at her side as though 
very unhappy.) 

Gordon, it is true, Mrs. Fairfax. I have lost everything, 
but where there's a will there's a way. I will take care of 
you both. 

Mrs. Fairfax (with sarcasm). Indeed, and with what, 
pray? No, if you cannot see what is for your own good, 
Alice, I will compel you to see. (Goes to door and calls.) 
Mr. Hale. 

Enter Harold, R. He goes to Mrs. Fairfax down C. 
Alice meantime has crossed to Gordon. 

Mrs. Fairfax. Mr. Hale has asked your hand in mar- 
riage and I have given my consent. (Crosses to R.) 
Alice (starting forzvard). But, mother — 
Harold (takes Alice's hand and raises it to his lips as 
he bows). My dear Miss Fairfax, your mother has done 
me the honor of consenting to our marriage. (Alice drazvs 
azvay her hand slowly as if she did not zvish to be discour- 
teous and yet as though the zvhole affair zvas most dis- 
tasteful.) 



SHADOWS. 13 

Gordon {turning to Mrs. Fairfax). And has Alice no 
voice in the matter? 

Mrs. Fairfax. Have you? (Alice goes slowly up C. 
Harold follows her.) 

Gordon. Yes, madam, I have. I gave myself and all I 
have fighting for a cause I believed to be just. This man 
spent the years of war, when his country needed him, trav- 
eling about Europe, amusing himself. 

Harold {coming down C. and speaking in a very polite 
yet somewhat patronizing manner.) I beg your pardon. 
I was looking after business interests, my dear young friend. 
Business must go on, you know, even if men will fight with 
one another. {Turns toward Mrs. Fairfax.) 

Gordon {excitedly) . Liar is a nasty word, but I happen 
to know you were whiling away your time in Italy, Switz- 
erland, Spain — ■ 

Harold {raising his hand deprecatingly but with the 
same polite air). Liar is a nasty word. Don't use it before 
ladies, I beg of you. {Crosses R. to Mrs. Fairfax, then 
goes up-stage.) 

Alice {coming down to Gordon). Oh, Gordon, dear, 
don't have any words — don't. 

Mrs. Fairfax {impatiently). This is all idle talk. My 
daughter is to marry Mr. Hale, who will restore our home 
and give us both the position in life we formerly occupied. 
She will try to repay a little of the devotion I gave to her. 
You prate heroically. You have nothing to offer. 

Gordon {holding his head up proudly). Nothing but my 
love and a spotless name. You know this man's reputation. 
{Points to Harold.) 

Harold {coming dozvn-stage). My dear fellow, Mrs. 
Fairfax knows that a man of the world is not an angel. 

Mrs. Fairfax. There is nothing more to be said. Alice 
does as I say or never will I lay eyes on her again. (Harold 
goes up C. Alice turns from him.) 

Gordon. And are you willing to sacrifice your daughter? 

Mrs. Fairfax. Indeed! Am I less selfish than are you? 
You offer her — what? An estate laid waste by the enemy, 
yourself — young, it is true; good looking, I grant — 



14 SHADOWS. 

Gordon (interrupting eagerly but courteously). I do not 
claim to be worthy of Alice. No man, perhaps, is quite 
worthy of a sweet woman. I only say, I am strong. I can 
work and I adore her. 

Harold (coming dozen C). I am strong. I do not have 
to work and I adore her. 

Gordon (ignoring Harold). Oh, Mrs. Fairfax, have you 
forgotten your youth ? 

Mrs. Fairfax (with spirit). Thank you for reminding 
me of my age. (Harold crosses to Mrs. Fairfax.) 

Gordon. Pardon me. I meant no discourtesy. 

Harold (lifting Mrs. Fairfax's hand to his lips). Oc- 
tober glory is more splendid than the daintiness of Spring. 

Gordon (taking a step or two toward them). Let us have 
done with pretty pratings. The happiness of two people 
is at stake. (Harold shrugs his shoulders and turns up- 
stage a step or two.) 

Mrs. Fairfax. Two people? Am I not to be considered? 
I who have cared for that child from her birth? 

Alice (coming downstage). Oh, mother dearest, you 
know I love you. (Crosses to her mother.) 

Gordon (crosses L. of C. to table). Forgive me if I seem 
selfish. Alice means so much to me. (Stands in front of 
table with hands resting on it in a dejected attitude.) 

Mrs. Fairfax. You are thinking only of yourself. Is 
this your so-called love? Youth is fleeting, and must my 
child spend her young days and lose her beauty dragging 
out a hopeless existence? 

Alice (putting her arms about her). But, mother dear, 
I would be happy. 

Mrs. Fairfax. Happiness is a point of view. You would 
soon grow weary of the grind. You whose dainty hands 
were never made for rough work. (Alice drops into seat 
on bench as though discouraged.) 

Gordon (turning eagerly). I would shield her from every 
wind that blows. 

Mrs. Fairfax (superciliously). How? 

Gordon. With my devotion. 



SHADOWS. 15 

Harold (coining down-stage). Rather airy protection 
against the wintry storms. 

Gordon {haughtily). Wait until I ask your opinions ere 
you vouchsafe them. 

Mrs. Fairfax. Mr. Hale is quite in this discussion. He 
is as much interested as are you. 

Gordon (in a conciliatory yet spirited and manly tone). 
Listen, I beg of you. I am not quite impecuneous nor im- 
practical. I can earn a living from the estate. The land is 
rich and will respond to my efforts. 

Mrs. Fairfax. It is useless. I will never give my con- 
sent. 

Gordon. Alice, by the love we both hold sacred (Turns) 
Let me hear from your lips what you think. 

Alice (rising and coming down-stage, stands before her 
mother and Gordon, clasping both her hands together). 
Oh, Gordon, I love you, but I do not know which way to 
turn. 

Mrs. Fairfax. From the moment she married you, she 
would be dead to me. (She crosses to extreme R. and 
Harold comes tozvard her.) 

Gordon (to Alice, who has turned to her mother plead- 
ingly although she does not move her position). Alice, 
don't turn from me, dearest. You have been the one thought 
of my life for so long. I will live for you, work for you, 
conquer every obstacle — come — (puts his arms around her). 

Mrs. Fairfax (turning about and taking a step or two 
tozvard them). Yes, go and starve and leave me to starve. 

Alice. Oh, mother, dearest. (Holds out her arms to 
her.) 

Mrs. Fairfax (standing proudly and erect). Choose be- 
tween us. There is no other way. 

Gordon. Alice, won't you come? (Gordon is desperate, 
fearing her mother will influence her, yet he believes in 
her.) 

Alice (zvith hands clasped in front of her and looking 
straight ahead). I — I — oh, what shall I do? (Looks at 
Gordon, then takes a step or tzvo toward her mother.) 



16 SHADOWS. 

Mrs. Fairfax (drawing Alice firmly to her side). She 
stays with me. 

Gordon. Alice, will you come? 

Harold (coming down C). It is possible Mr. Sanford 
does not realize the condition of affairs. His mother asked 
me to say nothing at present, but it seems necessary. 

Gordon (in amazement). My mother! 

Harold. The beautiful Sanford estate became quite 
hopelessly involved during the war; in fact — (pauses, his 
manner is polite, cool and collected, with the air of one 
about to play a trump card.) 

Gordon (impatiently). Yes — yes — you — out with it. 

Harold (deliberately). I became its possessor on yes- 
terday. 

Gordon. You! (Starts as though to go tozvard him and 
then leans against the table as though overwhelmed.) Good 
God! (Turns quickly.) Alice, you knew of this? (Har- 
old goes dozvn R.) 

Alice (reaching out her arms to him). Oh, Gordon, I — 
I— don't blame me. 

Mrs. Fairfax (drawing Alice firmly to her). Alice has 
made her choice. 

Alice (hesitates, then says brokenly). Yes. (Turns to 
her mother and drops her head on her breast.) 

Gordon. There is nothing more to be said. (Starts 
down-stage, then turns.) May God forgive you. (Exits 
R. quickly. Outside a shot is heard. Alice screams and 
rushes to the door.) 

Alice. Gordon! Gordon! (Lights go out.) 

THE AWAKENING. 

Virginia (awakening and crying out). Oh, Aunty, 
Aunt Geranium! 

Enter Aunt, L. 

Aunt. Mali goodness, I done forgot that chile. Wait 
a minute, baby lamb, an' I'll git a light. (Goes to table at 
L. and starts to light lamp.) 



SHADOWS. 17 

Virginia. Oh, Aunty, I'm so frightened. Where are 
they — all those people? (Rises from chair.) 

Enter Robert, R., unseen by Virginia and Aunt. 

Aunt (turning around). All dem people? Look heah, 
chile, don't git spooky till I gits a light. Ain't nobody heah 
but me. 

Robert. Yes, there is. I'm here. (Virginia screams.) 

Aunt (shaking). Oh, please, Mr. Spook, I ain't done 
nothin'. 

Robert. What in the name of common sense is the mat- 
ter? It is I, Virginia. It is I — Robert. (Comes down C. 
Aunt succeeds in getting lamp lighted.) 

Virginia. Oh, Robert, is it really you, and you are not 
hurt or killed or anything? (Runs to him.) 

Robert. Why, Virginia, you are trembling like a leaf. 
(Puts his arm about her.) 

Virginia. Where are those men with pistols and things? 
(Aunt comes down L.) 

Robert. There is no one here to hurt you. You are as 
cold as ice, and Aunt Geranium, you look almost white. 

Aunt (excitedly). Look heah, boy, dis ain't no time to 
fool. I tell you, somethin's happened. Take dis rabbit foot, 
baby, an' wear it aroun' yo' neck. (Gives Virginia rabbit's 
foot. Goes up-stage and looks around nervously.) 

Virginia. Oh, Robert, I think — yes, I know it must have 
been a dream, but it seemed so real. This room was full 
of strange people, and there was some one — oh, yes, I 
remember; it was my grandmother, just as she looks in 
her portrait, young and sweet. And then the shooting — 
oh, it was dreadful. 

Aunt (coming down R.). Um-umph! I done tole you 
not to laugh at spooks. I knowed something was gwine to 
happen. Dat was Mars Gordon Sanford done killed hisself 
kase Miss Alice done give him de shake. It was jest about 
dis time of de yeah. 

Robert. Don't say any more, Aunt Geranium. Virginia 
is nervous enough now. (Turns to Virginia and takes her 
hands in his.) I came to find you, dear. You did not meet 



18 SHADOWS. 

me last night. I waited a long time. You know I was to 
have my answer. 

Virginia. I am so sorry, but (hesitates) I couldn't come. 

Robert (gently). The answer, dear? 

Virginia. I — I — oh, Robert, perhaps — (drops letters. 
Robert picks them tip, but Aunt reaches out her hand and 
takes them quickly before he can see the addresses.) 

Aunt. Dem's some letters Miss Virginia done writ for 
me, but I'm gwine to post 'em mahsef. 

Robert (laughing). Love letters, Aunt Geranium? 

Aunt. Go way, boy. I ain't tellin' all I knows. You jes' 
look after Miss Jinny. (Goes to kitchen table and straight- 
ens things on it.) 

Robert. What is it, Virginia — yes or no? 

Aunt (quickly). Lawdy, boy, can't you see it's yes? 

Virginia. Oh, Robert, dear. I'm so glad to have you 
here. It's yes a hundred times. (He takes her in his arms.) 

Aunt. Clar out of her and do your spoonin'. (Makes 
a move as though driving them out, playfully. Robert and 
Virginia exit R. gaily. Aunt goes to door and watches 
them.) Dat chile don' want money. It's just love she wants. 
(Still watching them.) Der dey goes an' der two shadders 
follerin'. (Turns and comes dozen C.) Dis heah ole worl's 
jes' full of shadders. (Goes to big arm-chair and sits 
dozvn.) Fokes comes an' dey goes, ripens and drops like 
the fruit on de tree. Ole Mars is gone, old Mistis gone. 
De substance melts and fades away. Ain't nothing left but 
shadders. (Drops off to sleep in arm-chair.) 

Curtain. 



Macbeth a la Mode 

By WALTER BEN HARE. 

Price, 25 Cents 

School burletta in 3 acts; 7 males, 7 females, also teachers, 
students, etc., with only a few lines. Time, D/4 hours. No scenery 
required, merely a front curtain and an easel with placards an- 
nouncing scenes. Plot: Willie Macbeth is the social leader of the 
Senior Class. With his friend Banquo he encounters Three 
Witches, who prophecy that he will pass his examinations, be 
elected to a class office and will play on the football team. The 
first two prophecies come true and in Act II, Lady Macbeth, his 
mother, arranges for him to play on the football team, by drugging 
the captain. Macbeth flies to the witches for further advice and 
learns that he will make a touchdown. He does, but runs with 
the ball toward the enemy's goal, thus losing the game for his 
own team. Contains five songs: "Fairwell, My Fairy Fay," 
'"Tact," "The Senior Class," "Music and Laughter" and "Good 
Night," all sung to college airs. This play is very humorous and 
particularly adapted for schools. 

THE WITCHES' CHANT 



Round about the cauldron go; 

Mathematics you must know. 

Let X equal the cold stone, 

When will Y be thirty-one? 

Drop that in the mystic pan; 

Tell me, pray, how old is Ann? 

Double, double, boil and bubble, 

•Mathematics makes them trou- 
ble. 

Fillet of a fenny snake, 

In the cauldron boil and bake; 

Eye of newt and toe of frog, 

Wool of bat and tongue of dog, 

Biology makes 'em cut and jab. 

Thirteen hours a week in lab. 

Latin, Greek and German, too, 

Fifty pages make a stew. 

And to thicken up the mystery. 

Take two chapters English His- 
tory. 

Physics, French and English Lit, 



Spend an hour on each or git. 
All night long from six to three, 
Study math and chemistry. 
In the hours when you should 

dream, 
Write an English twelve-page 

theme. 
Work at night and Sunday, too. 
Outside reading you must do. 
Next day, when you're on the 

bunk. 
Teacher springs exam — you 

flunk. 
Double, double, boil and bubble. 
High school life is full of trouble. 
Cool it with a Freshman's blood. 
Then the charm is thick and 

good. 
By the pricking of my thumbs. 
Something wicked this w a y 

comes. 



Reminiscences of the Donation Party 

By JESSIE A. KELLEY. 
Price, 25 Cents 

The soliloquy of a minister's wife, with tableaux. For 40 or 
more characters, both sexes, although the number is optional and 
it can be presented with a smaller cast. Time, about 35 minutes. 
The wife at the side of the stage recounts the many amusing 
incidents of the party, tells who attended and what they brought, 
etc. The characters appear in pantomime. This entertainment is 
unique. It fills the demand for something that can be put on "at 
the last moment." It eliminates the usual long preparations re- 
quired in producing a play; no parts to memorize and it can be 
played on any platform. Highly humorous, replete with local hits 
and strongly recommended for church societies. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Parlor Matches 

By WALTER BEN HARE. 

Price, 25 Cents 

An engaging comedy of society, 2 acts; 4 males, 5 females. 
Time, 1V 2 hours. Scene: 1 simple interior. Characters: Vance 
Trelford, a professional hero, who doesn't want to be engaged. 
Don Radey, his cousin, a serious young man, engaged, thank you. 
i/erdinand Poppleton, a frivolous young man, likewise engaged, 
lorkes, the butler, who may or may not be engaged. Mrs. Seltoon, 
who believes in engagements. Margaret Seltoon, her elder daugh- 
ter, engaged to Mr. Radey. Suzanne Seltoon, her younger daughter, 
engaged to Mr. Poppleton. Gail Lawrence, her ward, engaging 
and eventually engaged. Abigail Mullen, A. B., her maid, tem- 
porarily engaged, as it were. 

SYNOPSIS. 

Act I. — A morning in June at Solitaire Villa, Dovecote. Mrs. 
Seltoon smooths out the course of true love. "Whoever heard 
of a grass widow playing a heroine in a love scene?" "Oh, it's 
one of the best things they do." Mrs. Seltoon seeking a man for 
her niece. "What is his yearly income?" The butler's opinion 
of a woman A. B. "Near-sighted, men's shoes, short bedrabbled 
skirts, last year's hat and a banner saying Votes for Women!" 
The new maid who is a graduate from the Splinterville Normal. 
The moving picture hero. "Women make me nervous. I always 
keep out of their way." Symptoms of hydrophobia. "I bark, bow- 
wow-wow!" "His father is in oil and vinegar." "Is it a new kind 
of a bath?" Gail announces her engagement to the moving pic- 
ture hero. "He's here in town!" "Fall, O walls, and crush me!" 

Act II. — A dinner party. Ferdy decides to enlist in the army. 
A reconciliation. Abigail and Adrian Lee of the movies. "Those 
eyes, that nose, it's him?" "I've seen you propose in white 
flannels, in feathers, in full evening clothes, in a sailor suit, 
and in the garbage of a monk, and every time you've won her in 
the end." Gail and her fiancee. That odious Mr. Trelford. Din- 
ner is served. Vance Trelford learns that he is engaged. "I ex- 
pected it all along." "Yes, I begin to think that I did it myself." 

Sewing for the Heathen 

By WALTER BEN HARE. 

Price, 15 Cents 

Entertainment for 9 ladies, either young or middle-aged. Time, 
40 minutes. Can be played on any stage or platform, or even in 
any room. Very refined. Suitable for church or any society. Char- 
acters: Mrs. Judd, the hostess. Mrs. Chester, the president. Mrs. 
R. B. Powers, the stranger. Grandma Gibbs, deaf but persistent. 
Miss Luella Huggins, so sentimental. Mrs. Strong, a suffragist. 
Mrs. Meeker, gentle and good. Mrs. Day, a bride. Meelv, the 
hired girl. SYNOPSIS. 

An anxious hostess. Meely wants to serve winnv-wurst sand- 
wiches and noodle soup. The mystery of the jardeniere. The 
President arrives before she is expected. "It was her hair; she 
hadn't got it all on yet." Red flannels for the Hottentots in the 
middle of Africa. A stranger in town, the rich Mrs. Powers. A 
trip down town. Grandma Gibbs and her ear-trumpet. The rich 
Mrs. Powers is mistaken for the dressmaker. The meeting of the 
society. A little tiff. The giddy Miss Huggins is late as usual. 
A present from the men. "Sewing for the Heathen." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Price IS Cents Each, Postpaid, Unless Different Price Is Given 



M. F. 

Documentary Evidence, 25 min. 1 1 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min.... 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in a Photograph Gallery, 

30 min 6 10 

Great Doughnut Corporation, 

30 min 3 5 

Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min..-.. 4 3 

Happy Pair, 25 min 1 1 

I'm Not Mesilf at All, 25 min. 3 2 

Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted,- 30 min 8 

Mike Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Carver's Fancy Ball, 40 m. 4 3 
Mrs. Stubbins' Book Agent- ^0 

3 2 



3 
3 
3 
6 
5 
3 
3 
2 
1 1 
3 
2 
3 
4 



min 

My Lord in Livery, 1 hr.... 4 
My Neighbor's Wife, 45 min.. 3 

My Turn Next, 45 min 4 

My Wife's Relations, 1 hr.... 4 
Not a Man in the House, 40 m. 

Obstinate Family, 40 min 3 

Only Cold Tea. 20 min . . 3 

Outwitting the Colonel, 25 min. 3 

Pair of Lunatics, 20 min 

Patsy O'Wang, 35 min 4 

Pat, the Apothecary, 35 min.. 6 
Persecuted Dutchman, 30 min. 6 

Regular Fix, 35 min,-., 6 

Rough Diamond, 40 min 4 3 

Second Childhood, 15 min.... 2 2 
Smith, the Aviator, 40 min... 2 3 
Taking Father's Place, 30 min. 5 3 
. Taming a Tiger, 30 min 3 

J That Rascal Pat, 30 min 3 2 

f. Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Treasure from Egypt, 45 min. 4 1 
yfurn Him Out, 35 min 3 2 

^Two Aunts and a Photo, 20 m. 4 
Two Bonnycastles, 45 min.... 3 3 
Two Gentlemen in a Fix, 15 m. 2 
Two Ghosts in White, 20 min. . 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 
Wanted a Correspondent, 45 m. 4 4 

Wanted a Hero, 20 min 1 1 

Which Will He Marry? 20 min. 2 8 

Who Is Who? 40 min 3 2 

Wide Enough for Two, 45 min. 5 2 

Wrong Babv. 25 min 8 

Yankee Peddler, 1 hr 7 3 



VAUDEVILLE SKETCHES, MON- 
OLOGUES, ETHIOPIAN PLAYS. 

M. F. 

Ax'in' Her Father, 25 min 2 3 

Booster Club of Blackville, 25 m.10 
Breakfast Food for Two, 20 in. 1 1 

Cold Finish, 15 min 2 1 

Coon Creek Courtship, 15 min. 1 1 
Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m.14 

Counterfeit Bills, 20 min 1 1 

Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min 2 

Five Minutes from Yell Col- 
lege, 15 min .- 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 
Glickman, the Glazier, 25 min. 1 1 
Handy Andy (Negro), 12 min. 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 1 

Hot Air, 25 min 2 1 

Jumbo Jum, 30 min 4 3 

Little Red School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 
Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Mr. Badger's Uppers, 40 min. 4 2 
One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min 2 

Pete Yansen's GmTs Moder, 10 

min 1 

Pickles for Two, 15 min..... 2 
Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funnygraph, 15 m. 6 

Recruiting Office, 15 min 2 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Stage Struck Darky, 10 min.. 2 1 
Sunny Son' of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, 15 min.... 2 
Uncle Bill at the Vaudeville, 

15 min 1 

Uncle Teff, 25 min 5 2 

Who Gits de Reward? 30 min. 5 1 



A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago 



POPULAR ENTERT "wwv of congress 



Price, Illustrated Paper 







IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
er design. 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 Copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Brand new, original, successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

■Recitations; monologues, dialogues. 
Dialect Reading's. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous' Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 
Monologues Grave and Gay. 

Dramatic and humorous. 
The Patriotic Speaker. 

Master thoughts of master minds. 




015 910 



Choice collections, ya<.»«.,..~, — __r 
morous, descriptive, prose, 
poetry. 14 Nos., per No. 25c. 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Black American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland, via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Large Illustrated Catalogue Free 



T.S DENISON& COMPANY, Puhishers, 154 W.Randolph St., Chicago 



